On the loss of control over the narrative. New roles on the interactive documentary (I) The intrinsic nature of the conventional documentary has experienced major changes since the advent of this new type of documentary, as a result of today’s new technological landscape. Based on Nichols’ argument (1991) regarding a possible definition, we specifically analyses three trends in depth: - The author can no longer set out to create a unique, closed and subjective narrative program, and must assume to some extent that he will lose control of his work, and as such the new situation often works against his interests. In short, he no longer depends on himself to convey a particular narrative program. - The construction of the discursive narrative and order involve a linear and sequential pattern in a new scenario characterized by the multi-deployment of approaches, nodes and outcomes.
Resources BRITDOC Foundation Resources At ❤BRITDOC❤ we want to support documentary makers of all levels. These links and documents are designed to connect you to the organisations you need to know to get your doc funded and make it all happen. We understand that the filmmaking process can be daunting and you need all the help you can get. This is a growing and evolving page, so if you can think of any resources you need please e-mail your suggestions to our Film and Distribution Manager, Luke Moody: luke@britdoc.org What is pervasive media? Girl playing Escape From The Tower. Copyright: Calvium and Benjie Croce The simple explanation: Pervasive Media is basically any experience that uses sensors and/or mobile/wireless networks to bring you content (film, music, images, a game…) that’s sensitive to your situation – which could be where you are, how you feel, or who you are with.
Sehsucht™ Founded in 2000 by a bunch of hungry design addicts, Sehsucht has come to leave its mark as a top-notch quality label in the field of animations and graphics. With the same untiring drive and excitement as back in the early days, we direct and produce cutting-edge digital content for our clients from the creative industries.We count more than 30 design-obsessed individuals that are united in their aspiration to further push the boundaries of storytelling by deploying narrative concepts that deliberately blend commerce with art. Our services encompass the entire creative process for any animation production – starting with the very first idea, through the conception and realization phases, all the way to the final touches.
Social media influences documentary-makers With built-in video cameras now the norm for mobile phones, anyone can be a film-maker – a fact proven by the role social content played in TV news coverage of the recent uprisings in the Middle East. As the dust settles, however, social media is influencing documentary-makers, too. "Social media is an enabler – allowing people to communicate in states where repressive regimes have restricted them from doing so," says David Alamouti, a film-maker and development director of inSight Education, a not-for-profit organisation championing diversity in production. "Now, however, it is also re-writing the conventions of documentary – fuelling the development of a new style as surely as the advent of TV re-shaped the documentary film-making that existed before." At one level the power of social media is about access – enabling ordinary individuals to tell and disseminate their own stories as well as traditional documentary-makers. Social media also enables a different approach to story-telling.
Doc House DocHouse & the Frontline Club present Between the Lines Festival | Rich Mix Cinema | 1-3 March 2013 Storytelling in the New Landscape – The Medium and the Message Each technological change in filmmaking has influenced the way stories are crafted. The New Digital Storytelling Series: Brett Gaylor The MIT Open Documentary Lab teamed up with Filmmaker Magazine on The New Digital Storytelling Series, a group of interviews with leading digital storytellers, technologists and curators. This interview was previously published on FilmmakerMagazine.com and is reposted with permission. In the sixth part of Filmmaker‘s interview project with prominent figures from the world of transmedia, conducted through the MIT Open Documentary Lab, Brett Gaylor, Senior Director of Mozilla’s Webmaker initiative (including Mozilla PopcornMaker and Popcorn.js) answers our questions. Gaylor has previously been a member of the EyeSteelFilm documentary production company, the founder of Open Source Cinema and the web producer of Homeless Nation. For an introduction to this entire series, and links to all the installments so far, check out “Should Filmmakers Learn to Code,” by MIT Open Documentary Lab’s Sarah Wolozin.